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Movie Review

Richard Linklater proves plotless prowess yet again with Everybody Wants Some!!

Alex Bentley
Apr 8, 2016 | 12:00 am
Richard Linklater proves plotless prowess yet again with Everybody Wants Some!!
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The one thing that has always separated writer/director Richard Linklater from his fellow filmmakers is his ability to make small, seemingly inconsequential moments feel important. Many of his movies — Dazed and Confused, the Before… series, Boyhood — deal in the day-to-day minutiae of their characters, with big events either absent or happening off-screen.

He’s back in that vein again with Everybody Wants Some!!, a “spiritual sequel” to Dazed and Confused set in 1980 as the members of a college baseball team reassemble in the days before classes start for a new year. The focus is mostly on Jake (Blake Jenner), an incoming freshman pitcher, but the film is so chock-full of colorful characters that almost everyone gets a chance to shine.

In true Linklater fashion, almost nothing of import actually happens. The players, which share two off-campus houses, immediately bond over their shared love of baseball, alcohol, and women, and not necessarily in that order. They go to a variety of clubs, host parties, and generally act like college kids enjoying their first taste of freedom away from home.

Even though the film is almost nonstop drinking, partying, and chasing girls, it feels much more interesting than your average college-set movie. That’s mostly because Linklater takes the time to let his characters talk, turning them into three-dimensional people instead of your standard archetypes. Many of the characters exhibit clichéd behavior, but because we get to know them, they’re never reduced to just their quirks.

The film is also packed wall-to-wall with songs from 1978-1980, so much so that you could almost consider it a musical. Some, such as “My Sharona,” have been greatly overused in other movies, but given the time period, feel more authentic here. “Rapper’s Delight” is given a showcase by having members of the team sing along to it, and it’s a moment that’s both cheesy and joy-inducing, since few could resist doing the same so soon after the song’s release.

In fact, the movie as a whole is a complete pleasure from beginning to end. It never matters that there’s no real story; Linklater includes so many fun moments that they add up to a whole that’s way more fascinating than your typical plot-driven movie.

Like Dazed, the cast consists of actors with few known credits to their name. In addition to Jenner (who's known mainly for showing up at the tail end of Glee), standouts include Glen Powell as Finnegan, the wizened member of the team; Tyler Hoechlin as the cocky and ultra-competitive McReynolds; and J. Quinton Johnson, one of the team’s few black players.

Everybody Wants Some!! will likely not get the same type of praise as Boyhood, but it’s equally impressive in its ability to create a fully realized world and interesting characters. Linklater is a master of plotless movies, and film fans are all the richer for it.

Blake Jenner and Glen Powell in Everybody Wants Some!!

Blake Jenner and Glen Powell in Everybody Wants Some!!
Photo by Van Redin
Blake Jenner and Glen Powell in Everybody Wants Some!!
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Movie Review

Teenage Sex and Death at Camp Miasma gives horror a surreal twist

Alex Bentley
Aug 14, 2026 | 1:30 pm
Hannah Einbinder and Gillian Anderson in Teenage Sex and Death at Camp Miasma
Photo courtesy of MUBI
Hannah Einbinder and Gillian Anderson in Teenage Sex and Death at Camp Miasma.

The horror genre really ramped up in the 1970s and ‘80s, bringing with it a new subgenre - the slasher - that gave audiences new visuals of gore, but also a reliance on sexism and homophobia that would come to define the era. The new film Teenage Sex and Death at Camp Miasma wrestles with that legacy in ways that are funny, thought-provoking, and downright strange.

Kris (Hannah Einbinder) is a queer filmmaker who has been hired to reboot the moldy IP that is the Camp Miasma franchise, one that was fresh in the 1970s but which numerous shlocky sequels have rendered irrelevant. In an attempt to get to know the property better, Kris has scored a meeting with the reclusive Billy (Gillian Anderson), the star of the original film who has shunned the public eye for decades.

Turns out that Billy lives deep in the woods at Camp Rivoli, which served as the location for the first film. As Kris tries to get to know Billy and convince her to be a part of the new film, she starts to fall under Billy’s spell and the lore of the franchise as a whole. That includes believing that the movie’s villain, Little Death - a transgender person who has an air conditioning vent as a head/mask - may not just be a character created for the movies.

Written and directed by Jane Schoenbrun (I Saw the TV Glow), the film at first feels like it’s going to go the straight-up comedy route, with comic explosions of blood, a strange fascination with candy brands, and a production design that does nothing to hide that the two main actors are on a movie set with painted backdrops. This is backed up by Kris’ phone conversations with her girlfriend, Mari (Jasmine Savoy Brown) and her agent (Sarah Sherman), as well as numerous other details.

But the film starts to go down the surreal route the longer Kris stays at the camp with Billy, especially when they sit down to watch the original Camp Miasma. An extended sequence shows a good amount of that film-within-the-film, demonstrating why Kris and Billy have a love/hate relationship with the property. For Kris, though, the lines between the film and the real world start to blur, and Schoenbrun uses a variety of out-there elements to drive the point home.

The final act of the film can barely be described as Kris goes deeper down the rabbit hole, with Schoenbrun using her film to comment on the horror genre as a whole, its treatment of women and LGBT people, the movie industry, and more. All the while the “camp” of Camp Miasma maintains a presence, with candy wrappers showing up everywhere and the tongue-in-cheek references to Little Death (the French term La petite mort, which means “the little death,” is a euphemism for orgasm).

Einbinder, an Emmy winner for Hacks, is the perfect person to inhabit her role. Her established real-life and fictional personas color everything she does in the film, with her enthusiasm and curiosity shining through. Anderson leans heavily into another reference - Norma Desmond from Sunset Boulevard - to create a character that is as mysterious as she is alluring. Supporting actors like Brown, Sherman, Patrick Fischler, Dylan Baker, and Eva Victor keep the movie at the right pitch all the way through.

While other films have made fun of horror movie tropes before, Teenage Sex and Death at Camp Miasma finds a wholly unique way of doing so. It’s a funny and daring trip into the psyches of two women who may be victims of their own obsessions, and of the movies that made them that way.

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Teenage Sex and Death at Camp Miasma is now playing in select theaters

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